I’m actually not that excited about Skywind myself as base Morrowind already has such a lively modding scene that is impossible to migrate over. With OpenMW, Tamriel Rebuilt and Project Cyrodiil the game just keeps getting better and better with time. I fully acknowledge that this is a very subjective opinion but I also feel like Morrowind doesn’t translate over to a Skyrim-style gameplay nearly as well as Oblivion does. So much dialogue and random NPC banter will have to be cut out if they want to voice act every single NPC like they to plan to do.
I also feel like Morrowind doesn’t translate over to a Skyrim-style gameplay nearly as well as Oblivion does
Because Oblivion was arguably Skyrim-style gameplay already; not much to translate there.
If i recall correctly the Skywind team said on stream they have roughly 2-3 times the volume of written and spoken dialogue compared to edit: either Skyeim or Oblivion.
I agree though, I think there’s an argument to be made that Morrowind in its entirety is perfect as it is, but that’s why I’m looking forward to it even more than to Skyblivion. Really curious what they are cookin
So much dialogue and random NPC banter will have to be cut out if they want to voice act every single NPC like they to plan to do.
Egrets from Skywind here. We’re really not cutting anything in that regard (or really in any respect). For lines that are very repetitive, we might reduce the number of NPCs that deliver those lines to avoid auditory fatigue and immersion issues, and some lines are being tweaked to avoid feeling too encyclopedic in their delivery, but our ultimate solution is just a ton of voice actors (hundreds, literally) and a lot of work to implement them all.
Thank you for your reply! One of my favourite aspects of Morrowind is how I can just walk up to a random NPC and ask them about a generic thing like directions to a place I have to get to, local services available, important NPCs or just their trade or a little secret or advice (and how those act as a soft tutorial with useful gameplay tips often being mentioned). If you actually plan to implement and voice most of these I bow before your ambitions!
The dialogue system isn’t identical, but we’ll absolutely be including those features as dialogue options. We recently cast the last few open roles, including major characters, so although VA is a bigger job than in any published TES game, we’re well on our way.
People are into vinyl and tube TVs again. Barnes & Noble just opened a huge branch in a hot (meaning: expensive) neighborhood here in Chicago. I guess people like physical things again.
Might be both. I know a couple of 20s that love physical media. Its crazy to think about, but they stated their childhood was mostly screens and rectangles. They both like Vinyl which is crazy to me. They are working their first jobs too.
i have the money but not the space. i used to have a subscription back in ps2-ps3 gen but the world has changed. now i just follow a few people on youtube, pateron and use sites like this or reddit for news.
I think people are catching on to these digital services can remove things you bought or they even fold. You own a physical item it is yours to do as you please with it
Yes please. To quote time traveling reporter Ryan George “PLEASE bring me back to the 90s! The future is dumb, and nothing makes sense, and I hate it!”
Always wanted to play it but never did, I fear as a new player it wouldn’t have the same appeal to me given the age of the game and no nostalgia level. Am I wrong?
The base campaign is kind of awful. It really just existed to demonstrate what you could do with the tool set. The expansions, Shadows of Undrentide and Hordes of the Underdark, are much better written with more interesting characters. None of the three campaigns hold up to modern game writing standards and all are pretty heavy on dungeon crawling. The deciding factor is probably going to be how much you like the D&D 3.0 rule set.
Obsidian’s sequel is based on D&D 3.5 and the core campaign has writing roughly on par with the first game’s expansions, with the quirk that it’s Obsidian doing high fantasy straight rather than their usual deconstructions. NWN2’s Mask of the Betrayer expansion is easily the best written thing out of either NWN game and is genuinely pretty great. NWN2 has some pretty terrible optimization, though, and runs rough on even high end modern systems.
With Larian’s previous game having great DM tools and them saying they would’ve loved to do DM tools for BG3, I think WotC telling them not to is a fair assumption to make.
Cause that’s all I played during the rise of microTXs. To me, the way valve went about it was literally the line between monetization and not ruining the game.
I thought that meant it can be done, all it proved looking back is publicly traded companies suck!!
I think what really started the current levels of rot was online passes for used games. They saw that people were playing without paying them directly, and wanted to stop it.
It was unpopular, as were map packs (which split the player base in online games), and here we are now with endless lootboxes and gacha elements. Sure, you can play without paying, but you’ll always feel like a second class citizen if you do. Everything you want will be held deliberately out of reach, and the aspect of “fun” has been reduced to collections and bars filling up.
It’s bred this generation of zombie gamers. I went to see my sister at Christmas, and her husband was playing Fallout 76 “doing his dailies”. I did ask what it was for and he said he didn’t really play it or want anything from the points it gives, and admitted what he was doing was kind of pointless. And then fired up the next game and did the same thing.
I tend to just stay away from multiplayer games these days. They’re pretty much all like that. The idea of playing because it’s fun is dead.
No matter how much hobbyists liked selling their games back to GameStop so the store can mark them up 500%, I have always hated that the industry of used games punished releasing fantastic short singleplayer games much much more than perpetual 2000-hour microtransaction live service games.
That crowd of gamers absolutely contributed to the fall. The general distrust of digital is acknowledged, but if people were just paying low/moderate sale prices for each SP game and keeping them, instead of paying used prices, we’d probably have fewer publishers moving this way.
Also layoffs temporarily raise the stock price, it’s probably more costly in the long run… but who cares as long as the numbers go up for a bit and everyone gets bonuses.
Especially when you’re mostly stock compensated. Just make the numbers go up long enough to see your share prices soar, browse around for a different job in the meantime. Sell your stocks at a high, exit the company as it implodes behind you. Rinse and repeat.
I still cant properly articulate why I didn’t like Eternal but loved 2016. So, part of me thinks this looks cool as hell but worries I won’t have fun with it again. Not sure what to think.
Personally, I found the Marauder’s and the Nintendo-hard style junk that was designed to make levels take longer to complete to be particularly frustrating.
They persist in attempting to incorporate a narrative into a game that was originally designed to simply engage in slaying demons.
Doom 2016 was game of the decade for me, but I never finished Eternal after multiple attempts due to getting too frustrated with the mechanics and just not enjoying it.
Going to wait and watch some gameplay before deciding to try it.
I finished Eternal but man it’s a real slog, 2016 felt like brainless violence to me which I love. I want to rip demons apart with my bare hands, I don’t want to platform. I don’t want to “optimize” my playstyle. I want to rip and tear.
DOOM Eternal was very much designed around engaging with all the systems. The problem being… you don’t actually need to do glory kills, crucible kills, grenade kills, etc for the first few levels on the lower difficulty settings. So when you DO get to the later missions… you are now learning how to play the game against encounters designed to push you to your limits.
Which, weirdly enough, meant that DOOM Eternal was actually best played on Ultraviolence. Because on UV? The first level will take you the better part of an hour (… or two). But after that? You know what you are doing and the rest of the game flies by… until the fucking DLC which is some of the best video gaming I have ever experienced. I remember being physically exhausted after some of the DLC levels and having that “This is REALLY not good but also holy crap” feeling.
And before people poo poo TOO much on a game that is five years old: DOOM Eternal WAS DOOM 2016 except with a bigger focus on rushing forward to eliminate key enemies rather than waiting behind doors as choke points and treaing it like an early 00s “cover shooter”. And… that is exactly what DOOM 2 did back in the day. Archviles could resurrect anyone and Pain Elementals were endless sources of Lost Souls. So you also had to be ready to push your way into a room to take outthe baddies.
Not sure how I feel about Quake 202-err, DOOM The Dark Ages. Gonna be there day one because I have been playing DOOM for basically my entire life (I am the guy who still replays the original once a year). But what we have seen so far feels like it was a really big over correction to DOOM Eternal. Which… is also kind of what happened with Quake versus DOOM 2 (and Final DOOM and The Plutonia Experiments and…).
Both 2016 and Eternal were best on the Nightmare difficulty.
The start sucks, as you don’t have all the tools, but it teaches you how to approach the arena combat. Once you figure it out, and you start to enjoy running around the map blasting everything in the face, you just do that for the rest of the game.
(I have not played DLCs, as even Eternals EULA angered me too much).
I didn’t like Eternal because it looked and felt more like a quake than doom. And the graphics were a downgrade for me. Not because of texture details, but because of atmosphere and oversaturation. It felt more cartoony than the darker version of hell in the first one.
My opinion is subject to change, since I do plan to eventually give Eternal another attempt, but I know why I like 2016 better. It’s because I can go at my own pace and have the freedom to play the battle scenarios out how I want to (for the most part).
Eternal basically tells you early on, you have to go, go, go, go, go. Keep moving or you die. I find that kind of annoying.
But then the fact that you’re almost constantly being forced to use every single button, skill, weapon, etc on-demand, in very specific ways with a fair amount of precision basically kills the joy for me. I don’t get to play games much, sometimes it’s weeks or months between sessions. I can’t keep up with all that bullshit and it sucks nearly every last drop of fun out of the game if I have to waste my limited fun time having to relearn all the mechanics.
I just want to casually rip and tear for fun. Eternal felt like a micromanaging boss constantly telling me that I’m doing things wrong and behind on my unrealistic deadlines.
“Gaming Youtube” is the same as any other form of media.
If you only watch trash reality TV then “Television is dead”. Whereas, if you only watch prestige TV on FX and AMC you’ll complain that “the sitcom is dead”. And if you only watch NBC or whatever the fuck… you’ll wonder why tim allen hasn’t had his legs broken by the dealers he narced on. Err, where was I?
Anyway. It is the same here. If you just watch whoever has the most views you are going to get the bottom of the barrel trash entertainment because it is specifically designed to cater to people who are browsing, watch for five minutes, then leave it on while it is still going.
Whereas you can also put a bit of work in. Find creators you do like. Yes, there is a massive discoverability problem (that gets worse with every major update…) but watching a VOD that appeals to you and maybe googling to find out if they were “cancelled” yet goes a long way. And, in that regard, people like Mortismal and Iron Pineapple are WAY better than anything we saw a decade or two ago.
Which is no different than TV. Nobody expected the TV show about the dad from Malcolm in the Middle becoming a drug dealer to be one of the greatest shows ever made (in that it gave us Better Call Saul but…). But people watched an episode or two and then listened when everyone else on the planet said “the first season is weird but it gets REALLY good by like episode five or six”.
Or… we can just do clickbait “Everything new sucks except for me” content.
All shit like this does is indicate how little the creators think of their viewerbase… And the fact that people think this is “true” means said creators are right to assume the worst.
You mean the prick who was one of the biggest voices legitimizing the Gamergate crowd who couldn’t even be bothered to speak against the harassment toward devs and games media? The guy whose entire claim to fame was screaming about “lazy devs” in an era where it was still kind of a miracle to even get a PC port of most games?
Regardless of him being a piece of shit, his content creation style was still very much “yell into a camera” similar to Sterling but with a lot fewer skits. That is still a popular style but plenty of youtubers outright build up scripts because they want to tell a narrative about the game they are playing or reviewing. Mandalore is a great example of that.
Which is similar to the old single camera sitcoms. There is a lot of charm to it but there is a reason the vast majority switched to multi-cam setups. And a lot of that is a mix of budget and just being able to do cooler stuff.
So for 1, here’s a pretty explicit quote where he does speak out against the harassment “I call on everyone to reject harassment in all its forms.” @cynicalbrit (first comment).
Definitely unfortunate that while he was attempting to champion the cause for a discussion on ethics (which he had been involved with for years when that all happened), the mantle got co-opted by a bunch of terrible people. But at best I can only blame him for thinking he could right the ship at that point, and that’s not a large enough mistake for me to define him by.
He definitely didn’t “yell into camera”, both because he was just projecting his voice (I’m constantly confused when people can’t distinguish loud from yell) and most videos didn’t actually feature a camera shot. He was known for a lot more than his criticisms for devs for things like 30 FPS locks: he was an excellent color commentator for SC2, he prolifically provided coverage for indie games and was a huge consumer advocate.
As he relates to the topic at hand, he was a giant reliable source of gaming recommendations of his day and it’s disingenuous to suggest there haven’t historically been highly influential, reliable and quality creators to assist people in discovering games.
Yeah. That is, and was, some “All lives matter” bullshit that then proceeds to insist that people who had received documented threats in the past and were seeing the exact same attacks occuring were 'inserting themselves" and then insisting the real problem is people is… people who are angry they are being doxxed and threatened constantly?
say, we cannot talk about ethics because you won’t stop talking about us allegedly harassing people. What is the first law of the internet? DON’T FEED THE TROLLS. By pushing this harassment narrative, you are giving these awful people victory and marginalizing the moderate majority who do want a serious conversation to happen about journalistic ethics.
Also: This was not a video on his channel or even his podcast. This was a comment in a relatively low impact video that basically only content creators watched
Yeah. Fuck that bullshit. If Bain hadn’t died he would be right there with the asmongolds of the world right now.
And while I won’t talk about the personal experiences of my friends who were formerly in games media and dev (because nobody believed them back then and sure as hell won’t now…), I will point out that a few outlets, when talking about the current “DEI is the real problem in the world” stupidity have alluded to Bain being the reason they initially stayed quiet until it was too late. Because when you have someone with that audience insisting that all old media is fundamentally evil and lying to you? You don’t pick a fight that will just lead to you getting fired.
Major difference is that TV and your examples aren’t a firehose free for all of content. There is at least a minor barrier to entry. Which helps stem some of the tide at least.
It looks interesting, though it does feel a little slimy just how obvious they were about making sure all the sponsor logos were visible on screen. Like, it gave me Wayne's World flashbacks with how long they were holding on the logos, it almost felt like a parody.
Big, chunky logos are part of this specific vibe, though I can understand why it’s a turn-off (with a couple of the fictional ones being out of focus).
I wouldn’t mind if they were all fictional, but the massive Porsche logo? Come on, I’m not paying for a game just to see product placements. It’s like Death Stranding with the energy drinks again.
I read it in this particular cinematic as a choice that this is OUR world, dominated by brands and massive companies. And it’s still the same ones even in this future.
Kinda like how it’s a different feeling when you see a Coke ad and an Atari ad in Blade Runner rather than seeing a generic in-universe copyright free brand.
That and this feels like something that could easily change in the main game
Why does this game need a remake? It came out pretty recently. They could probably just release a graphics and content patch for the base game. Or a sequel. Why rerelease a game like this?
To me it’s kinda the perfect game to remake (hopefully it IS remade and not just rereleased) because it had a lot of potential that it just did not live up to. A graphics and content pack would not improve the game much at all, because the let down was the gameplay and mechanics. If they can re-tool that, they may have a solid game here.
Maybe! I don’t think there’s a right answer until hindsight shows us how the game does. I can also imagine it has a lot to do with what the folks holding the money think will sell better, a sequel to a poorly received game, or a (potentially) lower risk remake?
I guess if we get new games in the long run I don’t really mind, it just seems weird.
I played Yooka-Laylee on release and it was overall an enjoyable game. As I understand they fixed a number of bugs a few months after release, but by then us release day folks had beaten it (and reviewers reviewed it).
The first level of the game was excellent, the later levels felt more rushed (or at least lacking the same level of polish). Maybe the changes will be to those levels, although level layout is key so I don’t know if you can just resize/move things.
I played Impossible Lair about a year after release and thought it was awesome.
Based on this trailer I doubt I’ll play the original again, but maybe I can be convinced.
They probably are, but they decided to make it over in a new engine. Since they have to port the gameplay mechanics over anyways, why not release a remastered version of the original to help fund development of the next one.
3D models aren’t tied to Unity, so all 3D models could probably easily be imported to Unreal.
Unity also has a 3D model exporter, so they could have used that to get all 3D models positions into Unreal within minutes.
E: still stuff like animations and game logic obviously take more time. Not trying to say that porting a whole game can be done in minutes, just the 3D Models.
Yes, there are many basic file types that would be easy. That said, 3D models and raw image textures are only a few basic examples of game assets. Many like customized materials or maps just save in an engine-specific format.
Hence the comment suggesting they have tools that at least closely convert what someone has from Unity.
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